Genre Forms & Conventions

In Dancing in the Distraction Factory (1992, Rouledge), Andrew Goodwin identified seven conventions used in the music videos. One of these conventions is the use of iconography created by the star within and outside of the video, which will eventually become a part of the star's image. Some music videos can be categorised into genre to dictate the style of the video; e.g. performance for a heavy metal band, dance routines for a girl or boy band. Although some transcend genre, music channels tend to focus on particular genres. Goodwin identifies that there is a relationship between the lyrics and the visuals, where one may serve to illustrate or amplify or even contradict the other.

Goodwin points out that music videos also use a lot of voyeurism, particularly with the treatment of women in the videos in the way that camera "looks" at them, for example, in the music videos produced by 50 Cent (late 1990s onwards) such as Wanksta (2002). Goodwin suggests that record labels will often require the artist to have close-ups in the videos, which is largely because of the relatively small size of the television screen and to create a sense of intimacy with the viewer. This emphasises the commodity on sale, which John Stewart from the production company Oil Factory suggests has the aesthetics of a television commercial with lots of close-ups and the use of lighting to focus on the star's face. There are also often intertextual references such as to television programmes and other music videos.

Distinct features characterise music videos, which may be detected by analysing certain key elements of the music videos; the genre style, camerawork, sound track, editing, mise en scene, intertextuality and narrative and performance.

The camera may move to track the performer but can also circle around the stage to give a dynamic feel to the video. Many music videos have a brief opening/closing sequences with sound effects and dialogue (such as the sound effects on The Open Happiness, 2009) but they consist largely of lyrics and music to differentiate them from a singles track. Although it is common for music video promos to use fast-cut montages, this makes it impossible to grasp many of the images on the first viewing, which insures multiple viewing, but some videos use a slower pace and gentler shot transitions, to establish mood (such as Dido in Lets Do The Things We Normally Do, 2008).

Digital effects, such as CGI film-style special effects, are used in music videos to offer different kinds of pleasure for the audience. This is used heavily on the music video Moments In Space (2007) but can also appear to a lesser extent in other videos in the form of split screens and colourization.

The mise en scene of music videos depends on the genre. It may be used to confirm a band's musically by showing them in a performance on a stage or in rehearsal rooms. The mise en scene may be used to emphasise an inspirational lifestyle, such as th latest gadgets. The context may increase the voyeuristic aspect of the video by using a sexual setting such as a sleazy nightclub. The more successful performers will spend large sums on the location, settings, props, costumes and dance routines.

Many music videos borrow freely from existing texts to attract and hold the viewer's attention. This is called intertextuality. The most common sources of texts are cinema and fashion. Madonna's Material Girl (1985) used references to Diamonds are a Girl's Best Friend from the film Gentlemen Prefer Blondes (1953). Intertextuality using fashion may use references to supermodels or the catwalk. Notable is Robert Palmer's Addiction to Love (1986) which included a 'backing band' of identically clothed women resembling catwalk models, with the camera often focussing on their bright red lips and finger nails.

Music videos may be performance, narrative or concept driven. The narrative style often offers a fragment of a story, often out of chronological order, encouraging the viewer to view the video again. A performance driven video focuses on the artist's performance but may contain narrative too and the artist may be a part of the narrative. The music video may allow the viewer close up contact with the artist in a way not possible in a live concert.